Of all the compositions in the Arena Chapel I think this the most characteristic of the noble time in which it was done. It is not so notable as exhibiting the mind of Giotto, which is perhaps more fully seen in subjects representing varied emotion, as in the simplicity and repose which were peculiar to the compositions of the early fourteenth century. In order to judge of it fairly, it ought first to be compared with any classical composition--with a portion, for instance, of the Elgin frieze,--which would instantly make manifest in it a strange seriousness and dignity and slowness of motion, resulting chiefly from the excessive simplicity of all its terminal lines. Observe, for instance, the pure wave from the back of the Virgin's head to the ground; and again, the delicate swelling line along her shoulder and left arm, opposed to the nearly unbroken fall of the drapery of the figure in front. It should then be compared with an Egyptian or Ninevite series of figures, which, by contrast, would bring out its perfect sweetness and grace, as well as its variety of expression: finally, it should be compared with any composition subsequent to the time of Raffaelle, in order to feel its noble freedom from pictorial artifice and attitude. These three comparisons cannot be made carefully without a sense of profound reverence for the national spirit[18] which could produce a design so majestic, and yet remain content with one so simple. [Footnote 18: _National_, because Giotto's works are properly to be looked on as the _fruit_ of their own age, and the _food_ of that which followed.] The small _loggia_ of the Virgin's house is noticeable, as being different from the architecture introduced in the other pictures, and more accurately representing the Italian Gothic of the dwelling-house of the period. The arches of the windows have no capitals; but this omission is either to save time, or to prevent the background from becoming too conspicuous. All the real buildings designed by Giotto have the capital completely developed. * * * * * XIII. THE ANNUNCIATION.--THE ANGEL GABRIEL. This figure is placed on one side of the arch at the east end of the body of the chapel; the corresponding figure of the Virgin being set on the other side. It was a constant practice of the mediaeval artists thus to divide this subject; which, indeed, was so often painted, that the meaning of the separated figures of the Angel and Mary was as well understood as when they were seen in juxtaposition. Indeed, on the two sides of this arch they would hardly be considered as separated, since very frequently they were set to answer to each other from the opposite extremities of a large space of architecture.[19] [Footnote 19: As, for instance, on the two opposite angles of the facade of the Cathedral of Rheims.]